This is the first version of the milling weather motif in Astrup's artistic production. In 1916 he repeated the motif in the painting Milling Weather (K125), and in the woodcut series Milling Weather (Greve 39) from 1917. In the newer versions the motif is reversed, so that the man and the boy come in from the right. The format and the similarity in motif may suggest that Astrup has used the first version as a template for the woodcuts, but it is unclear how the motif was transferred to the key block for printing. Because of the artist’s interest in photography and developing glass plate negatives, the transference via enlargement or copying techniques is hypothetically possible.
A comparison with one of Astrup's photographs, which is an enlargement of the crown of a tree, may suggest that shoots from the tree trunk to the right was painted after a photographic template. In the photograph the top of the tree’s crown is missing – corresponding to the part that “grows out of “ the stumps in the painting.
The painting has vertical crazing across the entire surface of the picture, which indicates that it had been rolled up after it was completed.
1902-n.d.:
Nikolai Astrup
(1880-1928)
-1940-1945-:
Paus Knudsen kunsthandel
-1945-1969:
Jacob Fleischer d.e.
(1892-1969)
1969-1987-:
-1994-2005:
2007-current:
Kode Kunstmuseer og komponisthjem
Stiftelsen Modums Blaafarveværk (undefined.). Nikolai Astrup 1880–1928. Modum: [s.n.], 1987.
Loge, Øystein. Nikolai Astrup: tradisjon og overskridelse. [Høvikodden]: Henie-Onstad kunstsenter, 1994.
Milling Weather
undefined undefined undefined, 1902 - 1905, 450 x 560 mm
Sparebankstiftelsen DNB (The Savings Bank Foundation DNB), Kode Kunstmuseer og komponisthjem
: 2023-05-09
undefined: Dag Fosse / KODE
undefined: Dag Fosse / KODE
undefined: Dag Fosse / KODE
This is the first version of the milling weather motif in Astrup's artistic production. In 1916 he repeated the motif in the painting Milling Weather (K125), and in the woodcut series Milling Weather (Greve 39) from 1917. In the newer versions the motif is reversed, so that the man and the boy come in from the right. The format and the similarity in motif may suggest that Astrup has used the first version as a template for the woodcuts, but it is unclear how the motif was transferred to the key block for printing. Because of the artist’s interest in photography and developing glass plate negatives, the transference via enlargement or copying techniques is hypothetically possible.
A comparison with one of Astrup's photographs, which is an enlargement of the crown of a tree, may suggest that shoots from the tree trunk to the right was painted after a photographic template. In the photograph the top of the tree’s crown is missing – corresponding to the part that “grows out of “ the stumps in the painting.
The painting has vertical crazing across the entire surface of the picture, which indicates that it had been rolled up after it was completed.
1902-n.d.:
Nikolai Astrup
(1880-1928)
-1940-1945-:
Paus Knudsen kunsthandel
-1945-1969:
Jacob Fleischer d.e.
(1892-1969)
1969-1987-:
-1994-2005:
2007-current:
Kode Kunstmuseer og komponisthjem
Stiftelsen Modums Blaafarveværk (undefined.). Nikolai Astrup 1880–1928. Modum: [s.n.], 1987.
Loge, Øystein. Nikolai Astrup: tradisjon og overskridelse. [Høvikodden]: Henie-Onstad kunstsenter, 1994.
Milling Weather
undefined undefined undefined
1902 - 1905
Milling Weather
undefined undefined undefined
1902 - 1905
Milling Weather
undefined undefined undefined
1902 - 1905